Kendrick Lamar recently tweeted his newvideo to “For Free? (Interlude).” The second track off of the critically acclaimed To Pimp A Butterfly is a comedic gem with a political statement you’ll definitely want to check out. Watch below.

Listen to the new Game and Drake song called “100” from Game’s Documentary 2. The track was produced by Cardo and Johnny Juliano and has been one of Game’s most well-received tracks in recent memory. The sequel to 2005’s Documentary was originally set as June 30, but is currently unannounced.

After Drake dropped not one, but two disses, Meek Mill finally responded to “Charged Up” and “Back 2 Back Freestyle” last night. Since dropping “Wanna Know,” Meek has been berated by social media for its lackluster approach, but you can hear it below. P.S. The track also features Drizzy’s alleged ghostwriter Quentin Miller.

Watch Oakland’s Kehlani and Chicago’s Chance The Rapper‘s new video for “The Way.” The dance moves in the black and white work perfectly complement the sexy track off of her You Should Be Here album, which dropped earlier this year. Enjoy below.

Fresh off of his exceptional Wildheartalbum, Miguel drops visuals for two of its tracks. “NWA” features the R&B star cruising with West Coast legend Kurupt throughout the streets of LA. “….goingtohell” (produced by Cashmere Cat) makes a dramatic statement in an art gallery. Check out both videos below.

If you need a sonic escape from all of racial inequality constantly being reported by news outlets, Erykah Badu offers up a melodious compilation called Feel Better, World! The work not only includes herself, but also features James Brown, Earth Wind & Fire and Eddie Kendricks.

“All over the globe…Keep walking tall brothers and sisters. Someday we will all be free, ” she wrote on her Mixcloud page. “The world is in need of healing…I carefully and lovingly selected high frequency tones for the soul…Please listen from top to bottom. Love, Ms. Badu.”

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After dropping Meek Mill diss “Charged Up,” Drake is back with another one. Drizzy goes in on “Back to BackFreestyle” teasing Meek about being Nicki Minaj‘s opening act and spits bars like “Trigger fingers turn to Twitter fingers/You’re getting bodied by a singing nigga.” Listen to the track setting the Internet in flames below. Still no response from Meek.

Though Odd Future members are still on good terms, its members have recently admitted to its apparent dissipation. Mike G apparently got nostalgic and shared an archived track recorded with Earl Sweatshirt in 2009. Produced by Left Brain,”Fuk It” recalls a time when OF was on the verge of poppin’ like a blister.

Listen to the new uptempo R&B earworm by The Weeknd called “I Can’t Feel My Face.” The beat was crafted by Max Martin, who executive produced Taylor Swift‘s 1989. Today, the fiery visuals are available via Apple Music. Watch below

Listen to three new tracks that Drake premiered on OVO Sound Radio. He responds to Meek Mill on “Charged Up” about ghostwriting allegations that have been plaguing the Internet. He also debuted “Right Hand” and a song he recently played at his barber’s wedding called “Hotline Bling.” Listen to all three below.

Boxing movie Southpaw finally hits theaters this weekend, but the soundtrack is now available to stream. Eminem was originally slated to play Jake Gyllenhaal’s role, but bowed out. Still choosing to contribute to the film musically, Em’s “Phenomenal” and “Kings Never Die” with Gwen Stefani appear on the work. 50 Cent, Joey Bada$$, Bad Meets Evil and The Weeknd also made the cut.

Janet Jackson fans have been waiting for new music since 2008’s Discipline, but she recently announced a new album, tour and movement via Twitter. The video for her latest slow jam “No Sleeep” with J. Cole is a classic display of sultry Janet wandering alone through a luxurious abode until Cole drops his verse.

In 2004, MF Doom and Madlib dropped cult classic Madvillainy leaving fans thirsting for new material from the duo ever since. Today, two new tracks “Untitled (feat. M.E.D.) and “Travis 911” inexplicably popped up online. Listen to the new cuts that will hopefully appear on their rumored sequel album via Soundcloud.

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After sticking up for a fan on Twitter and promising him new music, Jay Electronica debuted a song a few days later. “Man Up (Unreleased) ” was recorded during Bush’s first term in office and features mellow bass and guitars. Enjoy the archived track below.

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Since captivating the world with his ubiquitous hit “Happy” and dropping his G I R Lalbum last year, Pharrell Williams returns with a powerful new song called “Freedom.” After debuting the track at Pinkpop, the official version has now been made available to the mainstream. The video can was launched exclusively on Apple Music, but can now be watched below.

Wild 90’s videos motifs and neon color palettes permeate LA rapper David Sabastian‘s new video “Duh,” which also features his own collective of artists, producers and designers known as ANTI Society.You’ll see traces of Missy Elliott, Timbaland, Puff Daddy, Ma$e and Busta Rhymes visuals and even a cameo from supporter DJ Mustard.

Yesterday, Jay Electronica randomly stuck up for a fan who was being teased by his peers on Twitter & told him he’d DM him new music. According to watchLOUD, the aforementioned song premiered today on Hot 97. Check out Jay’s collaboration with Nigerian artist Don Jazzy called “Get Down” here.

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Listen to YG‘s funky new cut called “Twist My Fingaz.” Produced by Terrace Martin, the groovy track is a prime example of a certified West Coast summer anthem. Look out for it on YG’s upcoming album, Still Krazy.

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PRhyme (Royce Da 5’9″ and DJ Premier) team up with Logic on the Southpawsoundtrack called “Mode.” After dropping one of the most praised projects of 2014, PRhyme’s collab with the Maryland rapper sounds even better than you’d expect it to. Listen to the trio spit in lyrical beast mode here.

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If you’re in the mood for a mellow and golden era type beats, check out the the recently released project from 22 year old PA rapper Kush God Con. The Growthcontains clever metaphors, smooth production and details the life of a struggling artist on the come up over Jazz infused horns and pianos. Honest and authentic, the project is not one to be missed.

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Warren G drops his first single from his new project called “My House.” The track features unreleased from Nate Dogg and will appear on the sequel to 1994’s Regulate…G Funk Era. Regulate…G Funk Era Part II is set to drop next month.

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After dropping his fanciful What For? this April, Toro y Moi is back with a collaborative track called “Pitch Black.” The song features upcoming Atlanta MC Rome Fortune, and once again, Chaz Bundick impresses with another solid song.

Stream the new Ghostface Killah & Adrian Younge album before it drops tomorrow. The sequel to his 2013 work, 12 Reasons to Die II, is filled with soulful 70s inspired beats and verses from Raekwon, RZA, Vince Staples and Bilal. Listen to the notable project thanks to The New York Times here.

Watch as a literal display of breakdancing ensues while Pusha T gets his hair braided at a barbershop. Yogi & Skrillex‘s video for “Burial” is filled with debauchery and surprises including a cameo from Dennis Rodman. Directed by Grant Singer, the conversation piece is definitely worthy of your time.

Months ago, Lil’ Wayne referred to the Free Weezy Album as his best work, and now it has dropped exclusively on Tidal, but you can listen to it here. Guest appearances include Cory Gunz, Jeezy, Wiz Khalifa and production is provided by Cool & Dre, Infamous, Kane Beatz, London, and Reefa Beats.

Watch the latest video for Eminem’s new track “Phenomenal” off the Southpawsoundtrack. After being told to create a track for the film comparable to the magic of 2002’s “‘Till I Collapse” off The Eminem Show, Marshall penned the inspiring song. Watch the seven minute short film below.

Eminem and Gwen Stefani team up for their first collaboration together on the upcoming Southpaw soundtrack. The Interscope labelmates drop the guitar laced melody called “Kings Never Die,” which will be featured on the album July 24.

After a four month hiatus on social media, Tyler, The Creator dropped his latest effort, Cherry Bomb, with one thing in mind: a tweet. An observer commented that Tyler’s music sounded nothing like any of the musicians he listened to, and it apparently struck a powerful chord with the multifaceted artist. Well-known for his cartoonish personality and violent rhymes, the Odd Future leader offered no inkling of his broad taste in music including acts like Stereolab, Nas and Marvin Gaye.

Though the self-taught producer displayed growth on 2013’s WOLF both sonically and lyrically, his production on Cherry Bomb easily trumps his vintage sound often composed of simple synths and snares.

After engaging in sessions with film composer, Hans Zimmer, his advanced skill set is noticeable as he layers elaborate instrumentation in the project’s opener. “Deathcamp” contains hard bass, hammering guitars and intermittent screams as he pays homage to Rock god Iggy Pop and N.E.R.D. The mellow sequel to “Bimmer,” “2Seater” contains pianos, organs, saxophones and orchestral violins that help detail a romantic drive with his girl before the beat switches into the whimsical “Hairblows.”

A far cry from his earlier lyrics, “Kill People, Burn Shit, Fuck School,” Tyler’s new thematic incantation, “Find Your Wings” aims to inspire his listeners similar to the way Pharrell’s “You Can Do It Too” spoke to him in his early years. The song is dedicated to discovering and pursuing one’s passion with lyrics like, “The sky’s your home, there’s no limit, you know you gotta/Find your wings.” He harmonizes with frequent collaborator, Kali Uchis, over the beautifully serene Jazz track complete with xylophones and a feature from Roy Ayers.

Crowd favorite “Smuckers” is accompanied by Lil’ Wayne and Kanye West over a brassy beat, and he warns his audience about the glamorization of gang life with ScHoolboy Q and Toro y Moi on the brief, but pungent “Run.” “Lies what they got on their plate, they gon eat you/They got a homie called Karma, he gon meet you,” he delivers rapidly.

The mixing on the album, however, has its flaws with vocals falling victim to the thundering production at times. As a fan of raw and unpolished tracks (see last year’s “Diaper“), listeners are left struggling to discern lyrics as the bass heavy and Yeezus-like synths pulse over the chaotic title track. The outcome, however, still manages to be both melodic and well-suited for his Punk-like performances.

Following the script-like album trilogy centered around a love triangle, Cherry Bomb seems to hint at Tyler’s upcoming film debut, WOLF, which was announced in 2013 after he shared the colorful trailer via Twitter. The end of the lust-driven “Blow My Load” contains a GOLF Radio contest giving away tickets to a triple feature movie with a censored one-syllable title. A skit reveals him killing time before a film begins at Moon Theatres, and the album ends with the line, “It’s about to start,” as the unworldly “OKAGA, CA” laced with vocals from Leon Ware singing, “Let’s got the Moon,” comes to a close. His stunning visuals for “Fucking Young” also incorporate cinema scenes and a large Moon Theatres marquee (4:41 mark).

A well-executed fusion of musical genres, Cherry Bomb, shows exceptional maturation, remarkable range and fearlessness choosing to harmonize instead of rap on multiple tracks. It dazzles with its rich production, few samples and upbeat content that may leave hardcore fans yearning for Tyler’s trademark angst, but could potentially land him more album placements. At 24, Tyler’s startling progression in a two year time frame has already surpassed some of his predecessors’ beat making techniques, and it will be utterly intriguing to witness how advanced his artistry will eventually become.

Kendrick Lamar kept a journal the week good kid, m.A.A.d city was released with the intention of remembering how he felt or what it was like to go back to his hometown of Compton. His sophomore album, To Pimp a Butterfly, seems to expound upon the innermost thoughts likely penned in its pages and delivers it in rare form: honestly, aggressively and fervently.

Like his lauded debut album, he vividly paints cinematic scenes that can only be fully grasped by digesting the work sequentially, but instead of detailing his redemption from street life and sin, he exposes painful battles with temptation, self-love and celebrity.

Throughout the self-confessed roller coaster of emotions, K Dot expresses his wrath towards social inequality (“Hood Politics“) and the criminalization of Black males on the jarring “The Blacker the Berry” that would make artists like Dead Prez, Public Enemy and N.W.A. proud. “You hate me don’t you?/You hate my people, your plan is to terminate my culture,” he shouts jeeringly.

As the “biggest hypocrite of 2015,” the latter two tracks are juxtaposed by songs like the ethnicity embracing “Complexion” with Rapsody and the uplifting “Alright.” Amidst the unforeseen conversation with God on “How Much a Dollar Cost” and the evils of Lucy (Lucifer) that surround him on “For Sale?,” Kendrick manages to find solace in the joyous live version of “i” while proceeding to break down the true origin of the N word.

Admittedly the most difficult track to record, standout “u” is engulfed in depression as he screams in his hotel room and reflects on relationships that suffered due to his fame. He despises himself for not being able to veer his younger sister from pregnancy or visit his friend in the hospital before his untimely demise. “Then he died, God himself will say you fuckin failed/You ain’t try,” he declares nearly shedding tears as he contemplates suicide.

The dramatic range is boundless and the score equally breathtaking. With minimal well-known Hip Hop cameos (sans Pharrell, Snoop and a short speaking role from Dr. Dre), To Pimp a Butterfly’s sound reverts back to his earlier brass-filled tracks like “Rigamortis” & “Hol’ Up.”

Severing all ties to radio and absorbing Miles Davis and Parliament Funkadelic instead, the album’s production is a kaleidoscopic mix of luscious instrumentation provided by bass god Thundercat, in-house producers Terrace Martin and Sounwave, and experimental beatmaker Flying Lotus accompanied by George Clinton (“Wesley’s Theory“).

Despite endless submissions from the industry’s elite producers, Kendrick executed his unrelenting vision. The result is a rapturous blend of Funky electric guitars, keyboards, Jazzy horns, and strings that belong on the same astral plane ATLiens Outkast descended from.

Released exactly one day after the 20th anniversary of Me Against the World, the album comes to a powerful close with “Mortal Man.” The listener learns that the gradual revelation of a metaphorical poem pertaining to the project’s title is being shared with his late mentor, Tupac Shakur, who encouraged Kendrick to continue his legacy in a dream.The two discuss the current generation’s future, which Pac believes is “gonna be like Nat Turner, 1831.”

In a time where police officers still evade castigation for police brutality, Kendrick fearlessly carries the West Coast torch spreading Pac’s burning message of explicit Black pride, justice and revolution.

Whether it’s his conscience, social responsibility, or an epiphany he experienced while speaking to fans pondering suicide that led him to create such a complex and thought provoking masterpiece, one can simply hope that Kendrick will continue to compose projects that will not only spark stimulating conversations, but spawn change among the masses.

Love has been terribly unkind to Eminem over the years. Read on to discover the evolution of Eminem’s most honest and personal songs about love and heartbreak over the past few decades.

The Game of Love

In his early days, Em touched on relationships and breakups with these two songs from his first solo effort.

Eminem feat. Eye-Kyu – “Searchin’” (Infinite, 1996)

The only true Hip Hop love song of his career features a 24-year-old Em romantically gushing, “I got some game that I’m preparing to run/The way your lips sparkle and glare in the sun.” This is a rare gem that doesn’t result in anguish or violence.

Eminem – “Jealousy Woes II” (Infinite, 1996)

Em vents about a money-hungry girl who leaves him for another man. “Leaving me in sorrow, Brandy never felt so brokenhearted/I fell apart when you departed,” he vents.

Instagram: @andrea3stacks

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About @andrea3stacks

Los Angeles native Andrea Aguilar has always had a strong passion for Hip Hop and journalism. She created allabouteminem.com at the age of 15 and garnered media attention from the LA Times, Fox 11 News and The Today Show. She also defended his lyrics at a Grammy "Intolerance in Music" town hall meeting in 2001. Eminem's publicist, Dennis Dennehy, took notice and arranged a meet and greet with the acclaimed rapper during his Anger Management 2 Tour.

In 2007, she received a BA in Communications - Entertainment Studies with a Minor in Radio/TV/Film from Cal State Fullerton and worked for Interscope/Geffen/A&M Records. She is the writer and creator of www.beautifulstruggles.com, has contributed to HipHopDX.com and is currently Senior Content Strategist at Only Hip Hop Facts. .

Formerly Features Editor at TRUE Magazine and Editor-at-Large at DOPE Magazine, her articles include feature and cover stories on Hip Hop artists, actors and professional athletes. She has interviewed renowned artists like Big Sean, Pusha T, YG, Game and E-40. Watch her on rmconair.com Fridays 10-11:30pm PST.

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